Madchester
THE CHARLATANS
For many years, The Charlatans were perceived as the also-rans of Madchester, the group that didn't capture the zeitgeist like the Stone Roses or the band that failed to match the mad genre-bending of Happy Mondays. Of course, they were more traditional than either of their peers. Working from a Stonesy foundation, The Charlatans added dance-oriented rhythms and layers of swirling organs straight out of '60s psychedelia. At first, The Charlatans had great promise, and their initial singles - including 'The Only One I Know' - were hits, but as Madchester and 'baggy' faded away, the group began to look like a relic. It was commonly assumed that their third album, 1994's 'Up to Our Hips', was the end of the line. However, The Charlatans made a remarkable comeback in 1995 with their eponymous fourth album, which found them embracing not only the flourishing Britpop movement, but also underground dance and techno, as well as their mainstay of classic rock. 'The Charlatans' debuted at number one, and the group was hailed as survivors. Unfortunately, few knew how literal that term was - as the band was recording its follow-up album in 1996, organist Rob Collins, who had defined the band's sound, died in a car crash. The Charlatans decided to continue as a quartet, and their subsequent album, 'Tellin' Stories', debuted at number one upon its 1997 release, suggesting that they had become one of the great British journeyman bands of the '90s.
At the time of their formation in 1989, it appeared that The Charlatans were all about transience. Inspired by the emergence of the Stone Roses, Rob Collins (keyboards), Jon Baker (guitar), Martin Blunt (bass), and Jon Brookes (drums) formed The Charlatans, rehearsing with a variety of vocalists before Tim Burgess joined as their singer. The group attempted to land a record contract with no success, so they formed Dead Dead Good Records and released their debut 12' single, 'Indian Rope' in January 1990. Collins' dynamic, sweeping Hammond organ distinguished the group from their Madchester peers, and the single became a number one hit on the indie charts. By the spring, they signed with Beggars Banquet, releasing 'The Only One I Know' a few months later. Borrowing heavily from the Stones, jangle pop, and funk, 'The Only One I Know' became a monster hit, climbing into the pop Top Ten and becoming the group's signature single. Following another hit single, 'Then' the band's debut album, 'Some Friendly', was released in the autumn, debuting at number one.
It was a remarkable beginning to their career, so perhaps it was inevitable that bad luck hit early in 1991. As they launched their first American tour, The Charlatans were forced to add 'U.K.' to their name since a San Franciscan garage rock band from the '60s already had claims on the name. The group returned to Britain, where they played a concert at the Royal Albert Hall. Following the gig, Baker announced he was leaving the group. He was replaced by Mark Collins (no relation), yet the group was sidetracked further by Blunt's bout with severe depression. By the time the group finally released their second album, 'Between 10th and 11th', Madchester had become passé, and the album was ignored by the public and earned mixed reviews.
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Despite their declining popularity, The Charlatans soldiered on, yet hit their biggest setback to date in late 1992, when Rob Collins was arrested as an accessory to armed robbery. The situation had been entirely accidental - Collins had been drinking with an old friend and wound up following him into a liquor store - but he was sentenced to eight months imprisonment. Before he went into jail, he laid down the tracks for the band's third album, which was released in early 1994, once he had left prison. 'Up to Our Hips' received stronger reviews than its predecessor, and its single, 'Can't Get Out of Bed' was a bigger hit than anything on 'Between 10th and 11th'. It was the beginning of a comeback that culminated the summer of 1995.
Prior to the release of the group's eponymous third album, Tim Burgess sang on The Chemical Brothers' 'Life Is Sweet' which re-established his hip indie credentials and gave him, and The Charlatans, credibility in electronica circles. Appropriately, The Charlatans demonstrated a deeper dance sensibility, as well as more concise tunes, and it unexpectedly entered the British charts at number one. Following the release of the album, The Charlatans re-entered the front rank of British rock bands and were at the peak of their popularity, as well as critical acclaim. The group was still unable to crack the American market - initially, they were barred from touring the country due to Collins' arrest - yet they remained popular throughout Europe and Asia.
As the group was recording its follow-up to 'The Charlatans', Collins was killed in a drunk driving accident as he headed to the studio. Although Collins was pivotal to the band's signature sound, they carried on without him, completing their fifth album, 'Tellin' Stories', with the assistance of Primal Scream's keyboardist, Martin Duffy. 'Tellin' Stories' was released in the U.K. in the spring of 1997 to generally strong reviews, and it entered the charts at number one. Two years later 'Us And Us Only' came out, followed in 2001 with the dance-inspired 'Wonderland'. The next year saw two releases, 'Live It Like You Love It', recorded live in the band's hometown in December 2001, and 'Songs from the Other Side', a collection of B-sides from 1990-1997. The Charlatans' eighth studio album, 'Up At The Lake', was issued in 2004, and two years later 'Simpatico' hit the shelves.
The Charlatans hit the headlines in 2008 when their tenth album, 'You Cross My Path' was released as a free download courtesy of Xfm.
Albums:
Some Friendly, Dead Dead Good Records, Situation Two, Beggars Banquet Records, 1990.
Between 10th and 11th, Situation Two, Beggars Banquet Records, 1992.
Up to Our Hips, Beggars Banquet Records, 1994.
The Charlatans, Beggars Banquet Records, 1995.
Tellin' Stories,Beggars Banquet Records, 1997.
Us and Us Only, Universal Records, 1999.
Wonderland, Universal Records, 2001.
Up at the Lake, Island, 2004.
Simpatico, Sanctuary Records, 2006.
You Cross My Path, Cooking Vinyl, 2008.
This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com
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Ocean Colour Scene
Falling between the energetic pop/rock of mod revival and the psychedelic experimentations of Traffic, Ocean Colour Scene came to be one of the leading bands of the traditionalist, post-Oasis British rock of the mid-'90s. Although they had formed in the late '80s and had several hits during the height of Madchester in the early '90s, the band didn't earn a large following until 1996, when their second album, Moseley Shoals, became a multi-platinum success story in the U.K. Their ascent was greatly aided by Paul Weller and Oasis' Noel Gallagher, who both publicly praised Ocean Colour Scene for keeping the flame of real rock & roll burning during the '90s. And, according to one specific definition, they were right, since Ocean Colour Scene was nothing if not rock & roll traditionalists, drawing heavily from British Invasion pop, psychedelia, soul, R&B, and blues-rock to create a reverential homage to classic rock. Their devotion to trad rock may have earned them decidedly mixed reviews, but that was the very thing that earned them a sizable following.
Ocean Colour Scene is comprised of Steve Cradock (lead guitar, keyboards, vocals), Simon Fowler (lead vocals, guitar), Damon Minchella (bass), and Oscar Harrison (drums). Prior to forming in 1990, the members of the band had played in a variety of other groups. During the late '80s, Cradock played in a mod revival band called The Boys. Though they released an independent EP called Happy Days and supported former Small Faces frontman Steve Marriott, the band never gained much of an audience. At the same time The Boys were active, Fowler and Minchella were in a Velvet Underground-influenced group called Fanatics, who released an EP, Surburban Love Songs, on the independent label Chapter 22 in the spring of 1989. Following the release of the single, the group's original drummer, Caroline Bullock, was replaced by Harrison, who had previously played with a reggae/soul band called Echo Base. Shortly after Harrison joined Fanatics, the group split up. Several months after their disbandment, Fowler, Minchella, and Harrison formed Ocean Colour Scene with Cradock, whom they met at a Stone Roses concert.
Appropriately, Ocean Colour Scene was initially heavily influenced by the Stone Roses. After performing a few concerts, the group built a small fan base and signed with a local indie label, !Phfft. Shortly after signing with !Phfft, Ocean Colour Scene became hyped as "the next big thing" by the British music weekly press, as their live shows and debut single, "Sway," earned extremely positive reviews during the first half of 1990. In the spring of 1991, they headed into the studio to record the debut album with Jimmy Miller, who worked on The Rolling Stones' classic albums of the late '60s and early '70s. Instead of concentrating on work, the band essentially drank away their hours in the studio, resulting in a batch of uneven recordings. Unsatisfied by the tapes, the band headed back into the studio with Hugo Nicolson, who had previously worked with Primal Scream.
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By the time they completed the record, !Phfft had been acquired by Fontana Records, who bought the indie with the intent of owning the rights to Ocean Colour Scene. Despite their enthusiasm for the band, the label's head of A&R, Dave Bates, rejected the group's first attempt at the album and asked them to re-enter the studio to re-record most of the album with another producer, Tim Palmer, who had previously worked with Tin Machine. Palmer also remixed the remaining cuts, resulting in a slick, over-produced debut album that was delivered belatedly in the spring of 1992. By that time, the music press had abandoned the Madchester scene that the Stone Roses spawned and, in turn, they rejected the return of Ocean Colour Scene. The public also refused to buy the record and it sank upon its release. The band made some headway on an American tour, but tensions with Fontana continued to increase throughout the year.
Ocean Colour Scene returned to England halfway through the year, planning to record a new album quickly, but Bates rejected their new material. Soon, the band sued to get out of its Fontana contract. By the time it was settled in early 1993, the group owed hundreds of thousands of pounds to the label and they were back on the dole. Ocean Colour Scene continued to rehearse, often supported by their manager (and Steve's father), Chris Cradock, who put the family house up for mortgage. The band converted their rehearsal space into a recording studio and began recording constantly, but their break didn't arrive until they played a gig supporting Paul Weller's new band in early 1993. Weller was impressed with Steve Cradock's playing, and asked him to play on his forthcoming single, "The Weaver." Cradock gradually became part of Weller's backing band, performing on much of Weller's second solo album, Wild Wood. However, the guitarist didn't abandon Ocean Colour Scene -- all the money he was making was funneled back into the band, and he landed Fowler a gig as a backing vocalist for Weller. By the end of the 1993, Cradock, Fowler, and Minchella were all playing in Weller's band.
The next break for Ocean Colour Scene arrived in late summer of 1994, when Noel Gallagher, the leader of Oasis, heard the band's tape in the offices of his record label. Gallagher offered OCS the opening slot for Oasis' breakthrough fall 1994 tour, which provided the group with needed exposure. Soon, the group was subject to a bidding war among several major labels, all of whom wanted the band to change their name. Eventually, the band signed with MCA in the summer of 1995; they were one of the few labels not to insist that the group change their name.
During early 1996, the hype machine began to go into overdrive for Ocean Colour Scene, as Gallagher proclaimed them the best band in Britain in several interviews and Chris Evans, a DJ on BBC's Radio 1, constantly played OCS's comeback single, "The Riverboat Song," essentially using it as his theme song. "The Riverboat Song" entered the charts at number 15 early in 1996. Moseley Shoals, the band's second album, was released in April of 1996, unexpectedly entering the charts at number two. The album was a fixture in the British Top Ten throughout 1996, spending six months total in the upper regions of the charts. Two subsequent singles from the record, "You've Got It Bad" and "The Day We Caught the Train," reached the Top Ten and the album continued to sell strongly throughout 1996, going multi-platinum in the U.K. Ocean Colour Scene also became a popular live attraction in Britain, selling out concerts during their summer tour. Moseley Shoals was released in America during the summer, but it failed to make much of an impact in the U.S.
As they were working on their third album, Ocean Colour Scene released the rarities compilation B-Sides: Seasides & Freerides in March 1997. By the late summer they had completed the album and had released "Hundred Mile City" as a single; it debuted at number two on the U.K. charts. Marchin' Already, OCS's third album, was released in September 1997 and debuted at number one in the U.K., knocking Oasis' Be Here Now off of the top slot.One from the Modern arrived in 1999, followed by Mechanical Wonder and the greatest-hits collection Songs for the Front Row: The Very Best of Ocean Colour Scene in 2001. 2003 saw the release of North Atlantic Drift, followed by Hyperactive Workout for the Flying Squad in 2005. Live Acoustic: At the Jam House arrived in 2006, followed by a collection of all-new material, On the Leyline, in 2007.
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Stereophonics
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James
James is a Manchester band who formed in 1981 but gained fame in the 90's as part of the ''Madchester' scene.''Sit Down'' is their best known song, which reached No.2 in 1990, the accompanying album ''Gold Mother'' contained other hit singles ''Come Home'' and ''Lose Control''. The same year, James performed two sell-out dates at the Manchester G-Mex.
Before they hit these dizzy heights, James t-shirt sales were very successful even without a Top 40 song.
Singer Tim Booth was well-known for his chaotic, frantic and energetic dancing which actually led to hospital treatment for a bad neck in the later stages of the band's career!
With the release of the album ''Seven'' James found recognition in the U.S, and the same year it was released (1992) they played a sell-out show to 30,000 people at Alton Towers in July.
The album ''The Best Of'' hit No.1 in 1998, however by 2001, ''Millionaires'' was their final album release for some years - Booth went onto become a solo artist.
In 2007 the band reformed and played T In The Park and the V Festival, a new album was issued in 2008, ''Hey Ma''.
Wendy Gabriel
This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com
